Making Things

I love to make things. I make poems and blog posts and stories and prints and broadsides and dinner and sweaters and gardens and friends and granola and yogurt and books and books of boxes, which will soon have poems in them, the boxes that is.

Yesterday I made things all afternoon with Alison, a friend who also loves to make things. And she knows how to sew.  With her help I lengthened  a too-short sweater by attaching the extra of an extra-long scarf to the bottom. Now my favorite sweater falls past my hips, exactly as long as I want it. I made treats for Alison to put in her freezer and she made a skirt out of another too-short sweater I never finished or wore.

While Alison and I were happily making things, David and John made music, playing guitars and singing. John remarked on how much better David has gotten and David answered, “I’ve been practicing and playing like I need to make a living at it.”

I thought, yes, that’s how I write, I put in enough hours to create something I could sell. Given what I write, if I do “sell” a piece it may not bring in much money. It may not bring in any money. But I work to create marketable pieces. It’s extremely unlikely that David will ever play guitar and sing for money, but he wants to be that good. Using the standards of the material exchange economy keeps us working hard, and we have the great good fortune of not having to make the exchange actually happen. The results of our creative focus are free to be gifts.

Have you read The Gift by Louis Hyde? He won a MacArther Grant for it and it was well deserved. Creativity is a basic human instinct and the art that comes from that instinct is a gift. It doesn’t have to be in the market economy to be meaningful. In fact, creativity is even more important given our culture’s focus on money and commodities. We need to create not to earn but to share.

If you want to make art of some sort but don’t think you have permission or the time or a worthy talent or the necessary creativity, read The Gift.

Then make something.

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Returning

The last month may be the longest blog break I’ve ever taken. It wasn’t intended, but it happened. Which is life, right?

Or maybe it’s my reflexive response to the current political insanity. Yes, I’m still obsessed with the news and spend a lot of time working to keep myself centered and using my energy to resist the dismantling of so much of what I’ve taken for granted as norms of democracy and living in a country inching its way towards true social justice.

At a party this weekend I talked about how meaningless my blog seemed to me after the election. How could I write anything that wasn’t directly political and pushing back against the madness engulfing us? Why write about the apple blossoms filling the trees and then salting the ground around my garden as the flowers start to fall apart?

“Because that’s exactly what we need,” one friend said. “We need to read about apple blossoms.”

It has been an extraordinary year for blossoms. From the forsythia bushes to cherry trees to apple trees to dandelions to lilacs, everything is having a bumper year of flowering. There are maple trees on my running route that have such thick clumps of red seed pods (also called samaras, maple keys, helicopters, whirlybirds or polynoses) they look like tropical blossoms, heavy and full as they nod towards the ground.

Yesterday afternoon I sat on the back deck steps for a few minutes, looking across my garden beds to the lilac bush intermingling with the largest of my apple trees. I could hear a catbird and finches singing. Every time I walked towards the small wood shed on the side of the barn a robin screeched from its nest at the top of one of the posts, trying to distract me from what must be a clutch of pale, blue eggs. The yard is an unbounded aviary (which actually would make it not an aviary at all, but you know what I mean), full of birdsong and nests and the flash of wings.

The world is still beautiful. I’m still resisting (15 acts of resistance a week — phone calls, emails, meetings, discussions) but I’m also still writing and drawing and turning over the soil and planting and picking bouquets for the house.

I’ve learned this before but have to keep learning it again. Bad things happen, but birds and trees and bushes don’t care. The sun comes up and spring comes on and the grass gets green and then grows again and the cows return to the pasture across the street, as they did today, right now come to the corner right across from my porch, as they do most evenings.

That’s reason enough to celebrate.

 

 

 

Deep Cuts: In Trump-Adjusted Terms

Detail of One Story At A Time by Kim Rugg

“In Trump-adjusted terms, I’m fine.” That was the answer a woman gave on a podcast I listened to this week when asked how she was.

Perfect! I thought. A way to skip the usual five minute greeting of yes, things are okay for me except I’m completely freaked out about the ongoing circus that our federal government has become — the meanest, freakiest, scariest circus ever — and half the time feel like I can hardly breathe. Now we can just give our TAT score.

In TAT I’m doing well, in part because I saw the Deep Cuts exhibit at the Currier Museum of Art on Wednesday.

An attractive part of delving into visual art for me is the absorption in making something with my hands, beyond my fingers on the keyboard as I write. Most of my writing time these days is editing anyway, which doesn’t even mean many keystrokes — mostly I’m reading and sifting.

Time spent weaving a collage of newspaper strips or cutting blocks of words or gluing beads to a piece of paper for a pressure print as I listen to music can feel like slow snow — a suspension that’s going to amount to something at some point, and the creeping pace to that place feels just right.

But the level of detailed suspension in a head space of meticulous making displayed in the Deep Cuts exhibit is breathtaking. It can take me an hour or more to fuss with the strips of newspaper I weave to make a collage, painstaking for a relative newbie like me.

Then I saw Kim Rugg’s collage in the exhibit, “One Story at a Time,” and understood painstaking on a whole other level. Her work is a reconstruction of the front page of the NY Times after dissecting it letter by letter and pixel by pixel. The letters are put back together by alphabet, starting with all the a’s and preceding to z.

Detail of Altered Text: Unbearable Lightness of Being by Youdhi Maharjan
Detail of I am the rejection of you by Ambreen Butt

 

Youdhi Maharjan cut every single letter out of pages of Kundera’s The Unbearable Lightness of Being, along the exact lines of the letter, then massed them in a central column that runs through the excised pages pasted on either side. The letters are all discernible and black — you can see each letter in the cut spaces also, glowing gold from the background of the collage.

Ambreen Butt cut and collaged pieces of rejections letters — her own and others she got from friends — into a 10 foot circle that looks like an alternative sun. It’s beautiful, a source of light from an unexpected globe.

This is just a taste of this mind-blowing exhibit. Where do these artists’ brains go during the hours upon hours upon hours of exacting work? The same place my own brain goes as I continue to massage 85,000 words into a book constructed of the exact right words in the exact right places?

Whatever that place is, in TAT, being in that headspace myself, or looking at the marvels artists make from that space, makes everything better.